


Outlaws and Outcasts

by incorrigible_rapscallion



Category: Big Eden (2000), Brokeback Mountain - All Media Types, God's Own Country (2017), Original Work
Genre: Canon Disabled Character, Canon LGBTQ Character, Country & Western, Cowboy Culture, Dogs with Jobs, F/M, Father Figures, Found Family, Gen, LGBTQ Character of Color, Latino Character, M/M, Muteness, Native American Character(s), Screenplay/Script Format, Trans Male Character, campfire songs
Language: English
Status: In-Progress
Published: 2020-01-19
Updated: 2020-02-10
Packaged: 2021-02-27 09:28:35
Rating: Teen And Up Audiences
Warnings: Major Character Death
Chapters: 5
Words: 9,290
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/22314829
Author URL: https://archiveofourown.org/users/incorrigible_rapscallion/pseuds/incorrigible_rapscallion
Summary: A mute young man lights out for the Colorado territory to cure his ills but gets mobbed by a gang of outlaw rustlers. Stranded in the desert, he finds a family of outcast cattlemen plus true love along his journey to personal freedom.This is like BROKEBACK MOUNTAIN or GOD'S OWN COUNTRY if those stories were more upbeat, more diverse, and set in 1895!(Screenplay format, but give it a shot anyway!)
Relationships: Original Female Character/Original Male Character, Original Male Character/Original Male Character, Original Trans Male Character/Original Male Character
Comments: 3
Kudos: 3





	1. ACT I, Scene I

INT. REMINGTON ESTATE - SAMUEL'S BEDROOM - DAY

SAMUEL REMINGTON II (early 20s, short and scrawny) lays in bed, coughing.

He maneuvers gracelessly out of bed and stretches, still coughing.

The room is well-furnished for its time, 1895, with heavy fabrics and expensive woodwork.

Samuel dresses in a suit, taking considerate care with each clothing item as he changes.

Samuel comes to stand in front of a full-length mirror.

He appraises himself by attempting to straighten his back and square off his shoulders.

But he coughs again and cannot sustain the posture.

* * *

INT. REMINGTON ESTATE - LIBRARY - DAY

Outside a wide window, the landscape of the Remington estate stretches as far as the eye can see, but Samuel is trapped inside.

His cell is tall and imposing, with two stories and a lavish mural on the ceiling. It is the epitome of Gilded Age aesthetics and Samuel stares listlessly at the excess from a wing-back armchair.

There are portraits and photographs of the Remington family as they have progressively aged throughout the years:

  * ELIPHALET REMINGTON, the deceased patriarch (mid 50s-70s, Lincoln-like).
  * ABIGAIL REMINGTON, the matriarch (mid 50s-70s as well, willowy and stern).
  * SAMUEL REMINGTON I, the prodigal son and Samuel's father (mid 30s-50s, intimidating and distinguished).
  * FLORA REMINGTON, his deceased wife (mid-20s, gentle and cherubic).



Samuel appears as a BABY in portrait form and later alongside Remington as a CHILD with Flora absent.

There are displays of framed U.S. patents for Remington firearm designs and a typewriter. These are given a higher status within the room than the family portraits.

Samuel tries to reads a large book, but his coughing fits cause him to lose focus.

* * *

INT. REMINGTON ESTATE - DINING ROOM - NIGHT

Remington and Abigail sit with Samuel at dinner. They both pause with food half-raised to their mouths.

Remington clangs his fork on his plate while Abigail finishes her bite politely.

> REMINGTON  
>  So all of those private tutors and strings that I had to pull are just, what? Null and void because you couldn't handle a single semester of the real world?
> 
> ABIGAIL  
>  Sam, dear, I think that is too harsh--
> 
> REMINGTON  
>  No, mother, he needs to know what he cost me. Effort, time; his ledger is in the red. Would my father allow me get away with this kind of disrespect?
> 
> ABIGAIL  
>  Eliphalet is no longer with us, so what he would or would not do is not applicable in this situation. Samuel, I imagine, tried his best considering not just his troubles but also his current condition being what it is.

Abigail shoots Samuel a pointed look and he coughs in response. She winks back.

> REMINGTON  
>  Speaking of which, it's probably for the best that Samuel is no longer attending university.

Remington signals for their BUTLER (mid 50s, imposingly large) to come forward with an envelope.

Remington opens it and passes the contents to Abigail.

> REMINGTON  
>  What the boy needs is fresh air, wide open spaces. Not sitting around dusty books that he has no chance to do anything with.

Abigail examines the envelope's contents and scoffs.

> ABIGAIL  
>  But you would've had to have purchased this well in advance to secure such a spot?
> 
> REMINGTON  
>  Today's news was yesterday's memo, did father teach you nothing? I was already well-informed about Samuel's failing status in class at midterms. His personal effects have already been chartered ahead to a sanatorium out in Colorado. I'm told it's the best of its kind for treatment regarding Samuel's...condition.
> 
> ABIGAIL  
>  How long?
> 
> REMINGTON  
>  No more than a year for a full recovery. We can only hope that this trip out west will clean the boy's lungs...as well as his mind.

Remington finally looks at his son, but Samuel avoids his gaze by staring at the train ticket that Abigail passes to him across the table. It reads:

> "ONE WAY: New York to Colorado Springs"

* * *

INT. REMINGTON ESTATE - SAMUEL'S BEDROOM - NIGHT

Samuel and Butler, set about packing Samuel’s belongings. He fills a trunk with suits and hefty books.

> BUTLER  
>  I think that many books will be too much to carry, if you don’t mind my saying, Master Samuel.

Samuel immediately removes all of the books he just packed.

But he pauses at a book on nature and flips through it. There are pressed flowers within the pages.

Samuel passes the nature book over to Butler.

> BUTLER  
>  Ah, I remember your mother collecting these when she was carrying you. Mistress Flora sure loved her flowers; lived up to her name, yes she did.

Butler passes the books back to Samuel, but Samuel stops him.

> SAMUEL  
>  (in American Sign Language)  
>  No, it's yours now. I don't think I'll need it where I'm going.
> 
> BUTLER  
>  You're probably right about that. But I'll simply hold on to it for safe-keeping until you return from your... holiday.

* * *

INT. REMINGTON ESTATE - SAMUEL'S BEDROOM - DAY

Samuel is in the doorway of his room.

The sheets are stripped off his bed and the furniture is covered.

An intricate and ornate puzzle box sits on his nightstand and Samuel pockets it before leaving without a second glance.

* * *

EXT. TRAIN DEPOT - DAY - LATER

The train depot is filled with a noisy crowd of TRAVELERS boarding the waiting train.

Samuel stands apprehensively next to Abigail and Butler.

Abigail pulls Samuel in for tight hug.

> ABIGAIL  
>  I’m going to miss you everyday until you return.
> 
> SAMUEL  
>  (in ASL)  
>  You too, Nana.
> 
> ABIGAIL  
>  I may not approve of your father’s methods, but I do agree that this will be the best thing for you. Think of it like a holiday away for healing.

Butler pulls Samuel in for a hug as well and opens a compartment door at the front of the train.

Samuel boards.

Abigail closes the door behind him and offers her handkerchief through the compartment window.

> ABIGAIL  
>  Get better, dear, and come home soon.
> 
> SAMUEL  
>  (in ASL)  
>  I'll try.
> 
> ABIGAIL  
>  That’s my boy. And don’t let the Natives rob you blind!

Samuel rolls his eyes and Abigail backs away as the train whistles for its departure.

All three wave goodbye to each other while the train leaves the station.

* * *

INT./EXT. VARIOUS LOCATIONS - MONTAGE

TRAVEL MONTAGE:

Samuel gets comfortable in his expensive, private compartment. It is equipped with a bed and other high-end accommodations.

He takes out a copy of The NY Times from a carpetbag and begins reading.

The TRAIN travels through the city and country, from deep woods to the Great Plains region to the foothills of the Rockies.

Samuel never leaves his room. All that changes are the corresponding newspapers of the changing landscapes:

> The Cincinnati Enquirer; The Chicago Tribune; St. Louis Post-Dispatch; Dodge City Daily Globe; The Denver Post.

Headlining articles include:

> ”LE TRIO DU DIABLE strikes again”; ”EL TRIO DE DIABLO on the move”; "When will The Devil's Trio see justice?"

The headlines are accompanied with illustrations of ANTOINE, CLAUDE, and MARQUIS involved in gunfights and looting.

  * Antoine (late 20s, black and skinny) is given the moniker "The Devil's Slave.”
  * Claude (late 50s, white and Cajun) is "The Devil's Hand.”
  * Marquis (mid 30s, mixed race and French) is "The Devil Himself.”



* * *

INT. TRAIN - SAMUEL'S COMPARTMENT - DAY

Samuel is preoccupied by fiddling with the aforementioned puzzle box. It is like a modern-day Rubik's Cube and he is thoroughly distracted.

> CONDUCTOR (O.S.)  
>  ...approaching La Junta, the junction.

Samuel jumps in surprise at the train CONDUCTOR in his room.

> CONDUCTOR (CONT'D)  
>  Our current line stops at the junction. But Colorado Springs will be coming up, Mister Remington. I suggest that you start packing up your things.

Samuel nods and stuffs the puzzle box in a pocket inside his suit jacket.

Conductor exits and Samuel hastily packs up his belongings.

* * *

INT. TRAIN - SAMUEL'S COMPARTMENT - LATER

Conductor enters the compartment again, only to find it empty.

He is perplexed and looks out the window to see Samuel standing on the platform.

* * *

EXT. TRAIN STATION - LA JUNTA, CO

Samuel stands alongside his trunk. He watches the other Travelers exit the platform and hail a stagecoach or greet FAMILY MEMBERS.

The train whistles for its departure.

Conductor leans out the compartment window and calls over the whistle:

> CONDUCTOR  
>  You got off too soon, Mister Remington! Colorado Springs is still two stops away!

Samuel turns back around to see the train pulling away. He coughs at the exhaust and steam coming from the train.

He looks over at the station's sign, which reads:

> "Welcome to La Junta, Colorado."

Samuel hauls his trunk down the platform, coughing all the while, and follows the other Travelers to a roundabout of waiting stagecoaches.

One stagecoach is at the end of the roundabout with a female COACH DRIVER (mid 20s, rugged) holding a sign that reads:

> "Rocky Ford, Pueblo, Colorado Springs."

Samuel approaches, still coughing.

> COACH DRIVER  
>  Where to, sir?

Samuel covers his mouth with his grandmother's handkerchief and points to "Colorado Springs" on the sign.

Coach Driver picks up Samuel's trunk easily and straps it to the back of the coach.

> COACH DRIVER  
>  That'll be 20 total, sir. 10 here and 10 when you arrive.

Samuel pulls out a wad of bank notes and passes it over without looking at the amount.

> COACH DRIVER  
>  That works too.

Samuel climbs in the coach and Coach Driver circles around.

She flashes the wad of bank notes at a TRIO OF BANDITS standing nearby at a hitch with their horses.


	2. ACT I, Scene II

**Summary for the Chapter:**

> In which Samuel gets ambushed, left for dead, and finds help from an unlikely band of misfits...

INT./EXT. STAGE COACH AND LA JUNTA, CO (TRAVELING)

Samuel settles in nervously and takes out his puzzle box. He calms himself by fiddling with it.

Samuel flinches at the sound of Coach Driver's whip cracking.

The view outside the coach's window moves from the town of Pueblo to the deserted outskirts of a lonely highway.

The whip cracks again and the coach comes to a sudden halt. Samuel is jostled and falls to the floor.

The coach door opens and the Trio of Bandits stand with guns raised at Samuel.

They forcefully grab Samuel by his suit jacket and throw him on the ground outside.

* * *

EXT. COLORADO DESERT

Samuel squints at the blinding sun and the Trio of Bandits.

> MARQUIS  
>  We need no introduction. You know who we are and what we do.
> 
> CLAUDE  
>  This is a toll road.
> 
> ANTOINE  
>  Payment will be everything you own.
> 
> MARQUIS  
>  We're still deciding on your life.
> 
> CLAUDE  
>  Depends on the goods we find.

Antoine keeps his gun aimed at Samuel.

Claude and Coach Driver unstrap Samuel's trunk and fling it down on the ground to open it.

Samuel's clothes spill out and Marquis squats in front to sift through the items.

> MARQUIS  
>  (in French)  
>  I like this--don't you think I'll look fetching in this, gentlemen?
> 
> ANTOINE  
>  (in French)  
>  What's the plan, boss?

Marquis stands and struts to Samuel.

Samuel refuses to make eye contact, but Marquis forces him to by crouching in front of him and taking Samuel's face in his hands.

Once they lock eyes, Marquis considers him.

A beat, then:

> MARQUIS  
>  This face is just too pretty to bury.  
>  (in French)  
>  Leave him.

Antoine holsters his gun and begins packing away Samuel's belongings between their three horses.

Claude hands over a larger wad of bank notes than Samuel's to Coach Driver.

> CLAUDE  
>  Pleasure doing business with you, ma'am.
> 
> COACH DRIVER  
>  Anytime. I'll be on my way back into town if you'll be needing my services.
> 
> MARQUIS  
>  Until next time, _mon cher_.

The Trio mount up while Coach Driver resumes her seat on the stagecoach.

With a whip crack, both the coach and the Trio head down the highway in a plume of dust.

Samuel is left coughing and he stands shakily.

* * *

EXT. COLORADO DESERT - LATER

Samuel shuffles directionless along the highway.

He fiddles with his puzzle box, but gets angry and throws it on the ground.

The puzzle box is damaged and Samuel walks ahead, leaving it behind on the road.

A beat, then Samuel turns back around and picks it up.

Two hawks circle and give echoing calls overhead.

Samuel answers back with an identical bird call. He smiles at the sound, but that only makes his chapped lips bleed.

The hawks call back again and begin flying towards a point across the next ridge.

Samuel tracks their flight and pockets the puzzle box.

He determinedly follows the hawks.

* * *

EXT. ARKANSAS RIVER

Samuel crests the ridge and stumbles dazedly when he sees the flowing river.

He breaks through a line of cottonwoods on the water's edge and collapses next to the riverbed. He begins gulping down water.

The sounds of splashing nearby cause Samuel to freeze. He notices a herd of cows downstream.

He steps carefully over to the activity.

* * *

EXT. ARKANSAS RIVER - COWBOY CAMP

Behind a tree, Samuel spots three COWBOYS conversing with each other and resting at a camp site.

He focuses on a pile of supplies that is set aside next to a horse hitch.

Samuel creeps over to the supplies and furtively picks through the food and other provisions. He stuffs a couple handfuls of crackers and jerky in his pockets.

A tall shadow passes behind him.

Samuel looks up to see ADOHI (late 20s, Native with an impressive physique) standing above him, haloed by the sun.

> ADOHI  
>  Haven't men like you already stolen enough from my people?

Samuel shrinks back and starts to empty his pockets.

Then he jumps up and makes a last ditch effort to run back into the treeline.

Adohi grapples him into a tight hold without batting an eye.

> ADOHI  
>  Not so fast. You have to answer for your crimes before a jury of your peers. That's your justice system, is it not?

Adohi manhandles Samuel further into the campsite.

JAVIER ESPINOZA (late 20s, Mexican and gangly) spots them first.

> JAVIER  
>  Híjole! What's with the fancy gringo? I didn't sign up for kidnapping.
> 
> ADOHI  
>  I caught this man looting through our supplies.

BERNARD FERGUSON (early 20s, Irish with androgynous features) flips a knife that he is using to slice a piece of fruit and aims it at Samuel.

> BERNARD  
>  So you thought you would bring him directly into our operation?
> 
> ADOHI  
>  I thought it would be a good idea for him to look at the faces of the people that he is stealing from.

YOSHIDA DAICHI (mid 40s, Japanese and friendly-looking) lifts the brim of a large hat covering his face from where he is snoozing on the ground to look at Adohi and Samuel.

> DAICHI  
>  I see the face of someone who doesn't know what they just walked into.
> 
> BERNARD  
>  That doesn't justify his actions. It's every man for himself out here.
> 
> JAVIER  
>  Bah! You don't believe in that horseshit, do you? I say he gets a good meal of hard tack and beans before deciding if stealing from us was even worth the effort.
> 
> DAICHI  
>  Talkative, isn't he? Usually men who dress like he does have to prove themselves fundamentally superior to lesser citizens and chattel like us.
> 
> BERNARD  
>  Just because he's quiet doesn't mean he isn't thinking it. Don't give him the credit.
> 
> ADOHI  
>  Votes?
> 
> JAVIER  
>  Aye.
> 
> DAICHI  
>  Aye.
> 
> BERNARD  
>  Nay.
> 
> ADOHI  
>  The ayes have it.

Bernard throws his knife into a block of wood and storms off.

Adohi releases Samuel, who falls to his knees.

> ADOHI  
>  Welcome to our cattle drive. My name is--

Before Adohi can finish, Samuel sprints away back into the treeline.

* * *

EXT. ARKANSAS RIVER - WOODS

Samuel is alone again. He runs at a pitiful pace and wheezes all the while.

Eventually, he comes to rest next to a large tree.

He sits at the base and curls up. He begins to openly cry.

MATCH CUT TO:

* * *

EXT. ARKANSAS RIVER - WOODS - NIGHT

Samuel is in the same spot, but has since fallen asleep. He awakes with a start.

The night is eerie and freezing cold.

Samuel searches his pockets for the stolen crackers and jerky, but finds that they are both a crumbled mess. He struggles to eat the falling crumbs and tough jerky.

Once it is gone, Samuel stands and listens to the woods.

He hears the flowing creek nearby and attempts to locate it blindly in the dark.

He cuts through the treeline and finds the riverbed.

He gulps down water with his hands but shivers at the temperature. Samuel reflexively retreats back to the treeline and huddles for warmth.

The sound of distant music piques Samuel's interest.

* * *

EXT. ARKANSAS RIVER - COWBOY CAMP

Samuel once again hides on the outskirts of the camp.

He watches the Outcast gang sitting languidly around a fire.

Bernard and Daichi perform an upbeat song with a fiddle and hand-carved flute, respectively.

Javier and Adohi sing verses to each other as a call and response:

> JAVIER  
>  (singing)  
>  Oh, I told her she was the brightest sight to see--
> 
> ADOHI  
>  (singing)  
>  The moon, the stars, and all between!
> 
> JAVIER  
>  (singing)  
>  She gave me joy, she gave me pain--
> 
> ADOHI  
>  (singing)  
>  She disappeared in the rain!
> 
> JAVIER  
>  (singing)  
>  She made my days but left at night--
> 
> ADOHI  
>  (singing)  
>  She always put up such a fight!
> 
> JAVIER  
>  (singing)  
>  That's what I get for falling in love... with the sun!  
>  (shouting at the sky)  
>  _Vete al infierno_! You gave me red skin!

The rest of the gang finishes the song and laughs at Javier.

> BERNARD  
>  We'll look again for some aloe vera at the next stop.
> 
> JAVIER  
>  Bah! They're just gonna say that they haven't got a shipment in when they have it sitting right there in the window.
> 
> BERNARD  
>  Fine. Then next time, I'll do all the talking.
> 
> DAICHI  
>  (to Bernard)  
>  You’re not going to do any better with the next store clerk we meet.  
>  (to Javier)  
>  Face it, amigo, you are just going to have to live with your peeling cheeks forever.
> 
> JAVIER  
>  But then I'm going to die ugly!
> 
> DAICHI  
>  That's not the sun's fault.

Samuel steps closer to the campsite.

Suddenly, a CATTLE DOG (mid-sized mutt, shaggy) appears and barks at Samuel.

> ADOHI  
>  Chico!

Adohi whistles and Chico stops barking, but stays put.

The rest of the outcast gang notice Samuel.

Bernard and Javier stand at attention, while Daichi and Adohi appear nonchalant.

> ADOHI  
>  Back so soon? Do you have any smallpox blankets for us this time?
> 
> DAICHI  
>  Look at him shivering. I think the poor soul would take a smallpox blanket himself at this point.
> 
> BERNARD  
>  Good. He can take them all and go.

Javier whistles a signal to Chico.

The dog sniffs aggressively Samuel's hands. Samuel stiffens in response.

> DAICHI  
>  Poor city boy never saw a dog before.

Javier whistles another signal and Chico backs off, trotting over to Javier’s side.

They all are in a standoff. The crackling fire fills the silence.

A beat, then:

Samuel slowly paces closer and takes a seat on a log next to the fire. Javier and Bernard sit down simultaneously.

> ADOHI  
>  Are you going to stay long enough for us to introduce ourselves this time?

Samuel nods slowly.

Adohi signals for Chico to walk freely around the campsite.

Chico comes to rest next to Samuel, who tentatively begins petting him.

> ADOHI  
>  That's Chico. He runs this whole operation.
> 
> JAVIER  
>  Agreed.  
>  (to Daichi)  
>  He's worth at least two of you, viejo. No offense.
> 
> DAICHI  
>  None taken.  
>  (to Samuel)  
>  I'm Yoshida Daichi. Or as they say in my homeland, _Watashi no namae wa Yoshida Daichi desu_.
> 
> JAVIER  
>  _Claro que sí_ , Daichi is Japanese, not a Chinaman. Very big difference.

The gang chuckles, but Samuel is taken aback.

> DAICHI  
>  (to Samuel)  
>  When I came here to this country, they made me work on the railroad, but I would not. So I broke my contract and now I am here, free to do as I please.
> 
> BERNARD  
>  (to Daichi)  
>  Just as long as we make it to Cheyenne without losing 20% of our livestock.
> 
> DAICHI  
>  It's a steep price to pay, but at least it's not slavery.
> 
> JAVIER  
>  (to Samuel)  
>  Yoshida-sensei was once a professor. Don't get the _viejo_ started on morality or philosophy.
> 
> DAICHI  
>  (to Javier)  
>  I still am a professor, thank you very much.
> 
> JAVIER  
>  Si, but what is a professor without students? Just a man who talks to himself.

The gang laughs together and Samuel joins in timidly.

> JAVIER  
>  (to Samuel)  
>  I am Javier Raul Aguilar Espinoza, but you already knew that.

Samuel replies with a confused expression.

> JAVIER  
>  You mean my name doesn't proceed my own legacy? _Qué horror_ , this is my greatest shame--
> 
> BERNARD  
>  Javi, _cállate_. You're giving me a migraine.  
>  (to Samuel)  
>  I'm Bernard Ferguson. Formerly from Ireland. Yes, I am Catholic. No, I don't secretly commune with the Pope.
> 
> JAVIER  
>  Bernie, stop. You're giving me religion.
> 
> BERNARD  
>  Heathen.

The gang continues heckling each other.

Samuel looks back and forth at each member like he is watching a sports match.

Adohi scoots closer to Samuel and reaches across to pet Chico.

> ADOHI  
>  I'm Adohi. No last name. No tribe, except this one. You're welcome to become a part of ours. That is, if I can get your name?
> 
> SAMUEL  
>  (in American Sign Language)  
>  Samuel Remington II.
> 
> ADOHI  
>  Oh, sorry. I didn't learn that in school. They made me learn Greek, Latin, and French, but not signing. Maybe you could teach me?
> 
> SAMUEL  
>  (in ASL)  
>  I'd like that.
> 
> ADOHI  
>  Is that the sign for "yes"?

Samuel shakes his head and signs "no." Adohi mimics the movement.

Samuel nods and signs "yes." Adohi mimics it as well.

> JAVIER  
>  _Ojo caballeros_ , they are conspiring against us.
> 
> DAICHI  
>  Blasphemous actions, I'd say. Eh, _Banado-kun ka_?
> 
> BERNARD  
>  I'm not one to judge.
> 
> DAICHI  
>  Aren't you?
> 
> JAVIER  
>  (to Adohi)  
>  What are you children doing over there?
> 
> ADOHI  
>  Javier, we're the same age.
> 
> JAVIER  
>  That's not answering my question.
> 
> ADOHI  
>  Our guest speaks with signing. You know, through his hands.
> 
> JAVIER  
>  Bernie, you would love to talk like that, right? With your hands all--

Javier gestures lewdly as he speaks.

> BERNARD  
>  I've killed bigger men than you for lesser reasons.
> 
> JAVIER  
>  And believe me, I wish I could've been there to see it.  
>  (to Adohi)  
>  So, what's with our mysterious stranger? Is he on the run from the law?

Samuel signs "yes" or "no" for the following questions and Adohi translates for the rest of the gang:

> SAMUEL/ADOHI  
>  No.
> 
> JAVIER  
>  Ever killed a man?
> 
> SAMUEL/ADOHI  
>  No.
> 
> JAVIER  
>  Made passionate love with a woman?

Samuel cringes, scandalized.

> SAMUEL/ADOHI  
>  No. No.
> 
> JAVIER  
>  Look at this innocent lamb! Daichi, Bernie--I am adopting him as one of my own. He must learn how to live life properly!
> 
> DAICHI  
>  (to Samuel)  
>  So did you come out here for freedom?
> 
> SAMUEL/ADOHI  
>  No.
> 
> DAICHI  
>  Did you leave a family behind?
> 
> SAMUEL/ADOHI  
>  ...Yes.
> 
> DAICHI  
>  Do you miss your family?
> 
> SAMUEL/ADOHI  
>  ...No.
> 
> JAVIER  
>  Then you'll fit right in with us. Except for Daichi--all he does is cry about his beautiful and beloved long lost wife.
> 
> DAICHI  
>  (to Javier)  
>  I refuse to feel shame in that.
> 
> JAVIER  
>  You should since she's not real.
> 
> ADOHI  
>  (to Samuel)  
>  So, will you stay with us? At least for a while?
> 
> SAMUEL  
>  (in ASL)  
>  Yes, I'd like that. I think I'm meant to be here.
> 
> ADOHI  
>  I saw you say yes. And something else that you signed to me before. Is that right?
> 
> SAMUEL  
>  (in ASL)  
>  Yes.
> 
> ADOHI  
>  I assume you can hear what we are saying?
> 
> SAMUEL  
>  (in ASL)  
>  Yes.
> 
> ADOHI  
>  So you didn't lose your hearing?
> 
> SAMUEL  
>  (in ASL)  
>  No.
> 
> ADOHI  
>  But did you lose your voice?
> 
> SAMUEL  
>  (in ASL)  
>  ...Yes. In a way.
> 
> ADOHI  
>  You'll have to show me that last sign again once I can learn properly.

Samuel nods with a shy smile.

Bernard stands up and starts packing away his fiddle.

> BERNARD  
>  It's getting late, gents. Who's sleeping first shift tonight?
> 
> DAICHI  
>  Pick me, pick me!
> 
> BERNARD  
>  Daichi wants to sleep first. What a surprise. Any other takers?

The gang looks to Samuel expectantly. He raises his hand in response.

Daichi begins sifting through their gear for two bedrolls and blankets.

> ADOHI  
>  We sleep in four-hour shifts to keep watch over the livestock at night. Rustlers are hard to come by, but you never know when part of the herd might wander off.
> 
> JAVIER  
>  Cows are _estupido_. We should have all requested to drive sheep instead.
> 
> BERNARD  
>  We didn't even know each other when we took this job. How could we have possibly unionized?
> 
> ADOHI  
>  By the way, sheep are just as stupid, Javier.
> 
> JAVIER  
>  True, but they are at least cute and fluffy.
> 
> ADOHI  
>  Not when you look into their eyes.

Daichi passes a bedroll over to Samuel.

Samuel watches Daichi's actions before making his own bed.

Bernard picks up a shotgun and walks over to where five HORSES are hitched nearby. Chico follows obediently.

Javier follows after Bernard at a leisurely pace.

> JAVIER  
>  Don't corrupt our mysterious and innocent stranger until I get back.

Daichi answers back with a fake snore.

Samuel lays down on the bedroll. He then tosses and turns to get comfortable.

> ADOHI  
>  Used to a feather bed?
> 
> SAMUEL  
>  (in ASL)  
>  Yes.
> 
> ADOHI  
>  We get to lodge sometimes throughout a drive. But I've found that you get used to sleeping under the stars. Nothing else like it.

Samuel finally looks up at the night sky. He is awestruck.

He looks back to Adohi, who is watching his reaction.

> ADOHI  
>  Beautiful, right?
> 
> SAMUEL  
>  (in ASL)  
>  Beautiful.
> 
> ADOHI  
>  (in ASL)  
>  Beautiful.  
>  (speaking)  
>  Sleep well.
> 
> SAMUEL  
>  (in ASL)  
>  Sleep well.
> 
> ADOHI  
>  (in ASL)  
>  Sleep well.  
>  (speaking)  
>  Oh no, I won't be sleeping. My shift is to watch over the campsite and help Bernard and Javier if need be. Both you and Daichi are safe...at least until it's Javier's turn to watch the campsite.

Samuel and Adohi laugh together. Daichi snores for real, so they quiet down to soft chuckling.

Samuel points at the sky:

> SAMUEL  
>  (in ASL)  
>  Beautiful.

Adohi mimics the sign again. Samuel then points to Adohi:

> SAMUEL  
>  (in ASL)  
>  Safe.
> 
> ADOHI  
>  (in ASL)  
>  Safe.


	3. ACT I, SCENE III

**Summary for the Chapter:**

> In which Samuel receives a training montage and reveals his identity...

EXT. ARKANSAS RIVER - COWBOY CAMP - DAY

Samuel awakes to the sounds of the gang packing up camp.

Bernard and Adohi are strapping their gear to a team of horses and a mule with a buggy cart for food and supplies.

Javier and Chico are wrangling the HERD (70-100 beef and dairy cows) into formation across the river.

Daichi is closest to Samuel at the fire, preparing a hot breakfast.

> DAICHI  
>  _Ohayoo_! No, not the state. That means "good morning" where I'm from.  
>  Samuel hurriedly packs up his bedroll. It unravels each time.

Daichi notices his ineptitude and takes over to neatly tie up the bedroll.

> DAICHI  
>  Go put this in Argo's cart.

Samuel shoots Daichi a confused expression.

> SAMUEL  
>  (in ASL)  
>  Is Argo the grey horse?
> 
> DAICHI  
>  Sorry, go stick this in the mule's cart. We call him Argo as a joke.

Samuel is still confused but tries to hide it as he walks over to Adohi and Bernard.

Adohi takes the bedroll from Samuel and straps it securely in Argo's cart. Samuel cringes as he realizes what a mule is.

> ADOHI  
>  Did you get a nice rest? Bernard wanted you to do a shift last night, but I though it was best to let you sleep.
> 
> BERNARD  
>  Don't expect another night like that again. We all have to pull our weight around here.
> 
> ADOHI  
>  You won't have a problem with that from here on out, right?

Samuel both nods and shakes his head adamantly as responses.

> ADOHI  
>  We'll have some time today for you to teach me the signing alphabet.
> 
> BERNARD  
>  But not right now since we're busy. Unless you want to help?

Samuel nods enthusiastically and takes the nearest items on the ground to pack up.

He places the items in Argo's cart.

> BERNARD  
>  No no no, we will need these while we're riding. Nevermind. Let me do it.
> 
> ADOHI  
>  Maybe you could go help Daichi instead?

Samuel cringes again and slumps back to sit next to Daichi at the fire.

> DAICHI  
>  Know your way around a kitchen?  
>  (Samuel nods.)  
>  You'll chop the peppers. Gotta have some flavor or else we'll all go mad.

Daichi passes Samuel a cutting board and paring knife, along with a bell pepper and jalapeno.

> DAICHI  
>  Don't take it personally. Bernard likes things just so. It's best not to question his methods.

Daichi is pleased with Samuel's chopping results and tosses the pepper strips into a skillet of scrambled eggs.

> DAICHI  
>  A good chef always eats last after everyone else has had their fair share.

Daichi divvies up the food onto five plates.

> DAICHI  
>  Gents? Grub's done!

Adohi, Bernard, and Javier come bounding over to sit at the fire. Samuel passes around their plates accordingly before getting his own.

Samuel finally takes his first bite.

His face goes red and his eyes begin to water.

Javier laughs at Samuel's reaction.

> JAVIER  
>  That should definitely clear your sinuses and whatever had you coughing earlier.

Adohi passes a jug over to Samuel.

> ADOHI  
>  This will help with the heat.

Samuel gulps the entire jug down.

> BERNARD  
>  That was supposed to be a full day's supply of milk.
> 
> JAVIER  
>  Poor little rich city boy doesn't have any taste for flavor. Between this and his virginity, I almost pity my delicate flower. Bernie, you should keep him in your prayers.

Bernard gives Daichi his empty plate back and stands.

> BERNARD  
>  Look, I'm not the only one thinking it, but our guest needs to be trained properly if he wants to stay with us. He's a liability otherwise.

The rest of the gang freeze while they are cleaning up breakfast.

A beat, then:

> ADOHI  
>  I'll tutor him. Teach him how to do what we do.
> 
> BERNARD  
>  The sooner the better. If not, he gets left at the next town on our drive.
> 
> JAVIER  
>  Isn’t that a little dramatic, Bernie?
> 
> BERNARD  
>  It’s not dramatic, it’s necessary. We can’t afford to keep a hanger-on if they can’t do what needs to be done.

Bernard glares at Samuel, but Samuel looks away.

* * *

EXT. ARKANSAS RIVER - RIVERSIDE - DAY - LATER

Adohi and Samuel stand next to a HORSE (mare, paint with a braided mane).

> ADOHI  
>  We'll switch off riding Ama today, but you will get to saddle up first.... Go on, let her smell you.

Samuel smiles when Ama nuzzles his hand.

> ADOHI  
>  Her full name is "One Who Seeks Water," but I can't remember that many words in Cherokee so I just call her Ama, which is supposed to mean "water." At least, I hope it does.... Ever ridden before?
> 
> SAMUEL  
>  (in ASL)  
>  I did some equestrian studies when I was younger.
> 
> ADOHI  
>  That was a lot of signing. Yes or no?
> 
> SAMUEL  
>  (in ASL)  
>  Yes...and no.
> 
> ADOHI  
>  Let's focus on that "yes." Can you mount her on your own?

Samuel nods and attempts to get in the saddle, but falls out.

Adohi steps flush against Samuel and corrects his form.

Adohi places Samuel's foot in the stirrup and covers Samuel's hand on the horn. Samuel blushes at the closeness.

> ADOHI  
>  On three, you'll throw your weight into the stirrup and your other leg over to the other side of Ama. Ready? One, two, three...

Samuel follows the instruction successfully.

> ADOHI  
>  One task done, only a hundred more to go!

* * *

EXT. COLORADO DESERT - DAY - (TRAVELING)

Adohi walks alongside Samuel, Ama, and Argo. They are bringing up the rear of the herd.

Javier and Bernard take point on opposite sides of the herd's formation, while Daichi and Chico lead up front.

Samuel keeps his eyes closed at the dust being kicked up by the herd and coughs into his grandmother's handkerchief.

Adohi pulls out a "wild rag" (bandanna) from his pocket and takes off his own wide-brimmed hat to give to Samuel.

Adohi motions to Samuel about how to tie the wild rag over his ears and under his eyes to keep the dust away.

> SAMUEL  
>  (in ASL)  
>  Thank you.
> 
> ADOHI  
>  I hope that was something like "thank you."
> 
> SAMUEL  
>  (in ASL)  
>  Yes...thank you.
> 
> ADOHI  
>  (in ASL)  
>  Thank you.  
>  (speaking)  
>  As payment for my excellent tutelage, you must pay me in letters.
> 
> SAMUEL  
>  (in ASL)  
>  What's that supposed to mean?

Adohi laughs at Samuel's obvious confusion.

> ADOHI  
>  Teach me the first six letters of the alphabet in signing. What's "A"?

Samuel shows him and Adohi mimics the movement.

> ADOHI  
>  And "B"?

* * *

EXT. VARIOUS DESERT LOCATIONS - MONTAGE

TRAINING MONTAGE

Throughout the day, Adohi shows Samuel how to:

  * Knot a lasso.
  * Swing a lasso around a bush.
  * Swing a lasso from Ama while moving.



Samuel is unsuccessful and clumsy with each task.

Samuel shows Adohi how to sign in ASL:

  * Adohi's name and the rest of the gang's names.
  * Terms for "horse," "cow," and "dog.”
  * "Please," "Hello," "Good Morning," and, "Good Night."



Adohi points out specific items and how to use them, while Samuel shares the corresponding vocabulary in ASL:

  * Putting a bridle on Ama and Argo.
  * Dallying (tying) Argo to Ama.
  * Strapping on "bat wings" (chaps).



Samuel is much more successful with this set of tasks.

* * *

EXT. COTTONWOOD GROVE - COWBOY CAMP - NIGHT

Javier, Bernard, and Chico wrangle the herd into a makeshift pen of felled trees.

Daichi cooks dinner at a fire, while Adohi and Samuel stand nearby lassoing Argo.

Adohi cheers Samuel on after a couple of unsuccessful attempts before Samuel finally catches Argo around the neck.

> ADOHI  
>  Hey-oh! One out of a thousand on your first day ain't bad!

Adohi and Samuel remove Argo's lasso and sit next to Daichi.

> DAICHI  
>  How is our mysterious stranger doing?
> 
> ADOHI  
>  We'll get him roping and wrangling in no time at all.

Bernard and Javier come to rest at the fire as well.

> BERNARD  
>  I certainly hope so. We'll be in Pueblo by tomorrow afternoon.
> 
> JAVIER  
>  Do we finally get a name for our little virginal white boy?
> 
> ADOHI  
>  We were going to wait for everyone else to hear it at the same time. Make an occasion out of it.
> 
> JAVIER  
>  It's not everyday that you get introduced to someone you already know.

Samuel signs each letter of his name and Adohi translates aloud for the rest of the gang.

> SAMUEL/ADOHI  
>  S-A-M-U-E-L...R-E-M-I-N-G-T-O-N
> 
> JAVIER  
>  (in Spanish)  
>  You've gotta be shitting me!

Bernard shifts from glaring to studying Samuel.

Adohi notices Bernard's sudden interest.

> DAICHI  
>  You're not by any chance an heir to a massive fortune, are you?
> 
> SAMUEL  
>  (in ASL)  
>  No. Not anymore. They probably think I'm dead by now.
> 
> ADOHI  
>  That's a clear "no."

Adohi makes eye contact with Samuel, signalling his intention to twist Samuel's words.

> ADOHI  
>  So, you have the same surname, just different relation?
> 
> SAMUEL  
>  (in ASL)  
>  Yes, something like that.
> 
> ADOHI  
>  That's another clear "yes."

Bernard squints at Adohi and Samuel's interaction.

> DAICHI  
>  _Hajimemashite, Sameru-san_.
> 
> JAVIER  
>  Enough with that Sameru-shit. You are now Sami and I am still Javi; brothers-in-arms forevermore. My next goal is to get you a fly-by-night lover when we hit Pueblo.
> 
> ADOHI  
>  That'll be a bit of a challenge, seeing as how it's a dry town.
> 
> JAVIER  
>  Then we'll set our sights on Colorado Springs or Denver. I will even sleep with you myself if I have to!
> 
> SAMUEL  
>  (in ASL)  
>  Please don't.
> 
> ADOHI  
>  Yeah, that's another clear "no," pal.


	4. ACT I, SCENE IV

**Summary for the Chapter:**

> In which Samuel receives a makeover and opens up to a certain someone...

EXT. COTTONWOOD GROVE - LATER

Samuel is alone and away from the immediate campsite.

He practices knotting a lasso and catching Argo with it.

Each time that he misses, Samuel pulls the rope back, unknots it, then starts the process over again.

After a second go-around, Argo sniffs and wanders off to the horse hitch that is closer to the campsite.

Samuel sighs and sits down on a large rock. He successfully tries to lasso a bush in front of him, but is not proud of his progress.

A sudden sound of rustling movement nearby makes Samuel stand on edge.

He investigates the source of the sound behind a crop of trees.

Samuel finds Javier and Bernard passionately kissing only a few feet away.

Samuel stares, almost expressionless, before quietly retreating.

* * *

EXT. COTTONWOOD GROVE - COWBOY CAMP

Samuel paces around the outskirts of the campfire.

Daichi is snoring on his bedroll. Samuel's bedroll sits untouched and unused next to him.

> DAICHI  
>  Your feet are quieter than your thoughts. Which is to say, not at all.

Samuel startles at Daichi's voice and promptly dives onto his unused bedroll. His leg bounces and fingers tap instead.

> DAICHI  
>  I thought that if we both slept first shift again tonight, we would actually get some rest.... So, what has your insides all akimbo?
> 
> SAMUEL  
>  (in ASL)  
>  Javier and Bernard...

Samuel clasps his hands together meaningfully.

> DAICHI  
>  Ah, Javier and Bernard, right? I don't need to know signing to know that has got you all jumbled up, yes?
> 
> SAMUEL  
>  (in ASL)  
>  Yes.
> 
> DAICHI  
>  What about it are you thinking too hard on? The fact that they are both men?
> 
> SAMUEL  
>  (in ASL)  
>  Yes.
> 
> DAICHI  
>  Hmm, would you be surprised to know that Bernard was born "Bernadine"?
> 
> SAMUEL  
>  (in ASL)  
>  What? Really? Then why--
> 
> DAICHI  
>  Bernadine knew that she couldn't do what she wanted and needed to do out here as a woman, so she became a man. But in the end, it's really not all that different from doing it like a regular three-penny upright...

Samuel shoots Daichi a confused expression.

> DAICHI (CONT'D)  
>  You know, having a pully hawly...a tiff...a blanket hornpipe...

Samuel appears even more confused.

> DAICHI (CONT'D)  
>  Anyhow, it's not that odd since Javier likes to have a holster and Bernard still likes to have a pistol. Not that it's any of our business.

Samuel gives Daichi a scandalized expression before erupting into laughter.

> DAICHI (CONT'D)  
>  You devil! You knew what I was trying to say and yet you made me say it out loud like that. I oughta take a vow of silence with you.

Adohi charges in to the campsite with his shotgun drawn.

He takes stock of Daichi and Samuel cackling.

> ADOHI  
>  What's with all the ruckus?
> 
> SAMUEL  
>  (in ASL)  
>  Pistol...holster...blanket hornpipe!
> 
> ADOHI  
>  I'm not sure if I want to know what any of that means.

Daichi and Samuel quiet down.

> DAICHI  
>  Adohi-san, take _Sameru-san_ along with you. I need to get some shut-eye and _Sameru_ is making that incredibly difficult, what with all his chattering.

Adohi and Samuel lock eyes and Samuel rises to meet him.

* * *

EXT. COTTONWOOD GROVE

Adohi, Ama, and Samuel stand at the perimeter of the herd, which is corralled inside the makeshift pen that Bernard and Javier had set up earlier.

The moon is the only source of light, but it is full and the night is warm.

> ADOHI  
>  So, you're a Remington.
> 
> SAMUEL  
>  (in ASL)  
>  Yes. But the money is not mine. It is my father's legacy. I'm just his quiet shame.

A beat.

> ADOHI  
>  I don't remember my own family. We don't have last names. But my name means "woods." I know that. I was given a Christian name when I was brought to the Cherokee Male Seminary. Adam; the first man. My teachers never let me forget my creed and color, but I forgot almost everything else. I can read Latin and Greek, speak English and French, but not my mother--my mother's--tongue.

Samuel reaches out to comfort Adohi, but stops halfway.

> SAMUEL  
>  (in ASL)  
>  I don’t know my mother either. She died when I was six. That’s when I couldn’t talk anymore. I know her name was Flora. I know she loved flowers. I know she was kind.

Samuel takes Adohi’s hand instead.

> SAMUEL  
>  (in ASL)  
>  I wish I could speak with her too.
> 
> ADOHI  
>  What would you say?
> 
> SAMUEL  
>  (in ASL)  
>  I love you.

Adobo nods in understanding and mimics the sign.

A beat, then:

In the distance, an owl sounds.

Unbidden, Samuel calls back in a perfect mimic.

The owl responds and the two strike up a short conversation.

Ama, meanwhile, is spooked by the birdcalls, but Adohi laughs at Samuel's antics and calms her down.

* * *

EXT. TOWN - PUEBLO, CO - DAY (ESTABLISHING)

Like many old west towns, Pueblo has its city bank located across the street from the sheriff's office and jail.

The general store, bathhouse, and barber all share the same square block.

A rental space for corrals sits at the end of the main street. A horse hitch is out in front of the corrals.

Two corrals are empty, but one is being filled with livestock.

* * *

EXT. CORRAL RENTAL

Samuel, Bernard, and Javier stand with a CORRAL OWNER (40s, sunburnt and crusty). Bernard exchanges payment in return for a rented corral.

Daichi and Adohi usher the herd into an empty corral space.

Samuel and Javier hitch up their team of horses and mule outside the corrals.

> CORRAL OWNER  
>  Pleasure doing business with ya, Mister Ferguson. I will expect you back before three otherwise it'll be another day's pay.
> 
> BERNARD  
>  Understood.

The gang regroups a few paces away from the corrals.

> BERNARD  
>  I suppose this is where we part ways with our interloper.

Adohi and Daichi look down somberly. Samuel is impassive.

> JAVIER  
>  Cut it, Bernie. Think about it rationally, will ya? If we keep him, we will be able to ransom him once we make it to Colorado Springs. We can drop the cattle off with regular rustlers to finish the drive. Then we can skip town with more gold than El Dorado.

Bernard turns his back to Samuel to glare at Javier.

> JAVIER  
>  I'm joking, of course. The kiddo is absolutely useless, but that's precisely why we should keep him. We need a pet.
> 
> BERNARD  
>  (re: the herd)  
>  I think we have enough pets for a lifetime.

Samuel suddenly throws a lasso around Bernard from behind.

Bernard is shocked and falls over.

Samuel ties up Bernard in a clumsy, but successful tackle.

> BERNARD  
>  Fine! You can stay as long as you let me go. And pay for my hot bath.

* * *

INT. FIRST BANK OF PUEBLO, CO

Samuel and Adohi stand in front of a BANK TELLER (40s, well-fed and clean).

Samuel carries himself with a straight back, but nervously fusses with his worn suit.

> BANK TELLER  
>  Welcome to Pueblo, gentlemen. Fixing to open an account or just passing through?
> 
> ADOHI  
>  Passing through. We ran into some trouble along the way and my... benefactor will need to place a wire from his estate.

Adohi gestures to Samuel as his "benefactor."

> BANK TELLER  
>  Of course. Name of the bank?
> 
> ADOHI  
>  Atlantic National. In New York.
> 
> BANK TELLER  
>  I will also need the security word and estate name to authorize the transfer of funds.
> 
> ADOHI  
>  Happily, I--
> 
> BANK TELLER  
>  From your benefactor. Directly.

Samuel stops fidgeting and steps forward.

He takes up a pen at the Bank Teller's desk and writes out:

"Remington, Eliphalet; family first."

Bank Teller accepts the note with wide eyes.

* * *

EXT. PUEBLO, CO - MAIN STREET

Samuel and Adohi exit from the bank.

Javier, Bernard, and Daichi stand across the street on a stoop in front of the general store.

Samuel passes a bank note to Bernard.

> SAMUEL  
>  (in ASL)  
>  For your bath. Enjoy.

Javier laughs at Bernard's stoic expression.

A train whistle sounds nearby.

Samuel tries to locate where it is coming from, concerned and frantic.

The rest of the gang notices his shift in behavior.

> JAVIER  
>  Everything alright, vaquero? Do you have somewhere else you need to be?
> 
> SAMUEL  
>  (in ASL)  
>  No. I'm staying right here.

* * *

EXT. PUEBLO, CO - MAIN STREET - LATER

Javier, Bernard, and Adohi exit with wet hair from the bathhouse.

Daichi exits with a trimmed beard from the barber.

All four wait for Samuel to exit from the general store.

When he does, he is fully decked out in brand new cowboy gear: a wide brimmed-hat, patterned linen shirt, pants with chaps, and unbroken boots. He still wears Adohi's wild rag.

The gang dog-whistles at Samuel's makeover. He struts over.

> JAVIER  
>  Is that our sweet and meek Sami?
> 
> DAICHI  
>  Surely he must've gotten lost inside that store. Poor child.

Samuel takes out a jar of ointment from a new leather satchel and tosses it to Javier.

> SAMUEL  
>  (in ASL)  
>  For you.

Javier opens the jar and sniffs it.

> JAVIER  
>  Aloe vera! How did you know that I needed this?

Javier proceeds to slather aloe on his cheeks and the back of his neck.

> SAMUEL  
>  (in ASL)  
>  I listen.
> 
> BERNARD  
>  Congratulations. Your feet are gonna hurt like hell for the next few days.
> 
> SAMUEL  
>  (in ASL)  
>  I've broken in boots before.
> 
> JAVIER  
>  Uf! It looks like my Sami is two for two with his repartee. You gonna let that go, Bernie?
> 
> BERNARD  
>  Let's just get back to the corral before our rent is up.

Bernard, Javier, and Daichi walk away toward the Corral Owner at the end of the main street.

Adohi sidles up to Samuel and passes over a pair of moccasins.

> ADOHI  
>  Bernard was right. I thought you could use these later tonight.
> 
> SAMUEL  
>  (in ASL)  
>  You didn't need to get me anything. You've already done more than enough.
> 
> ADOHI  
>  Just say thank you.
> 
> SAMUEL  
>  (in ASL)  
>  Thank you.
> 
> ADOHI  
>  That's better. But you should really thank the women over there.

Adohi points to a pop-up stand nearby with three NATIVE WOMEN selling traditional trinkets and goods.

Samuel waves at them.

> SAMUEL  
>  (in ASL)  
>  Thank you for your hard work. They will be much-loved and appreciated.

Adohi watches the interaction with a smile.

But when Samuel looks back, Adohi turns to follow the others.

* * *

EXT. COLORADO DESERT - OUTSKIRTS OF PUEBLO

Daichi, Javier, Bernard, and Adohi are all on horseback at four quadrant points around the herd.

Chico runs and circumnavigates the the perimeter of the moving cattle, keeping straggler cows in line.

Samuel walks alongside Argo and the buggy cart of supplies at the rear.

The dust kicks up in Samuel's face, but he has his wild rag covering is mouth. He doesn't cough and breathes evenly.

His hands are twitchy and he habitually knots and unknots a lasso.

A calf wanders away from the herd. Chico barks in response.

Before the rest of the gang can reach the wandering calf, Samuel is able to lasso and dally it up to Argo.

The calf begins to whine and Samuel unties the calf, picking it up instead and carrying it across his shoulders.

Samuel buckles under the weight, but keeps going.

Javier and Bernard don't notice this action take place, but Daichi and Adohi do.

They smile and acknowledge Samuel's work.

* * *

EXT. VARIOUS DESERT LOCATIONS - DAY/NIGHT - MONTAGE

CATTLE DRIVE MONTAGE

The gang travels across a river, over foothills, and into mountainous landscapes.

Javier and Adohi sing an upbeat call-and-response throughout the trek. They sing on horseback during the day and at night lounging around a campfire.

Bernard and Daichi whistle and keep percussive time during the day when they are on horseback, but play their fiddle and flute at night.

> JAVIER  
>  (singing)  
>  You know that they once told me that it would be slow go-ing...
> 
> ADOHI  
>  (singing)  
>  And you know that if I'd saw then just what was in store for me...
> 
> JAVIER  
>  (singing)  
>  I'da packed up long ago and headed off to the dear old sea!
> 
> ADOHI  
>  (singing)  
>  Oh, I wish that they told me then that I would event-u-ally...
> 
> JAVIER  
>  (singing)  
>  Tire of seeing the big 'ol ass of Yoshida Dai-i-chi!
> 
> DAICHI  
>  Hey, my ass was the crowning jewel of Kyoto!
> 
> JAVIER  
>  Sure it was, _viejo_.  
>  (singing)  
>  Oh, you know they told me lotsa things 'bout the Goodnight-Loving trail...
> 
> ADOHI  
>  (singing)  
>  That I'da long for life worth living and for things much more upscale!
> 
> JAVIER  
>  (singing)  
>  If I'da known back then just what was held for me beyond the pale...
> 
> SAMUEL  
>  (singing)  
>  That they’d take away the boy from your once dear Sam-u-ale!

Daichi and Bernard finish playing the song at the campfire, but they are noticeably taken aback by Samuel's voice.

Javier and Adohi are in awe as well.

A beat, then:

> JAVIER  
>  Are we gonna talk about what just happened?
> 
> SAMUEL/ADOHI  
>  (in ASL/speaking)  
>  No. Why would I do that?

Daichi and Javier laugh while Bernard tries to hide his smile.

Adohi locks eyes with Samuel, but Samuel breaks the contact and blushes.


	5. ACT II, SCENE I

**Summary for the Chapter:**

> In which Samuel and a certain someone move closer and closer together...

INT. FIRST BANK OF FOUNTAIN, CO

Samuel and Adohi are once again at a bank.

Samuel fills out a written request for a wired money transfer. He has a well-to-do air about him, pretending to be self-important.

But as he and Adohi leave, Samuel's facade starts to crack with a good-natured smile.

* * *

EXT. FOUNTAIN, CO - MAIN STREET

Bernard, Javier, and Daichi stand across the street from the bank in front of the sheriff's office/jail.

Samuel and Adohi approach the gang.

Bernard holds his hand out expectantly.

Samuel passes over a bank note without blinking.

> JAVIER  
>  Say, I'm getting rather offended that you keep paying Bernie's way here. Are you trying to tell me that you're playing favorites?
> 
> SAMUEL/ADOHI  
>  (in ASL/speaking)  
>  Not at all. I'm just playing Bernard's favorite game: money.
> 
> JAVIER  
>  Who knew our innocent Sami could be so diabolical?
> 
> DAICHI  
>  Speaking of diabolical, did you see that notice, gents?

Daichi points to a set of "Wanted" posters on a notice board mounted outside the sheriff's office/jail.

The poster reads:

LE TRIO DU DIABLE--STILL AT LARGE  
Reward $1000, alive, for crimes of: robbery, kidnapping, murder, cattle theft

Javier rolls his shoulders and Bernard fidgets uneasily.

Samuel glares at the poster, suddenly angry. Adohi sees this.

> JAVIER  
>  If we ever cross paths with those bastards, I'll give 'em what for.
> 
> DAICHI  
>  We know you will.
> 
> JAVIER  
>  Just you wait. When we get to Cheyenne, I'll finally have enough saved up to turn myself in to a life on the right side of the law.
> 
> DAICHI  
>  That you will.
> 
> JAVIER  
>  I'll do my name proud. Make a legacy as the lawman for justice. Deputy Aguilar Espinoza...Sheriff Aguilar Espinoza...State Marshal Aguilar Espinoza...
> 
> DAICHI  
>  Uh-huh, of course.
> 
> JAVIER  
>  Are you just telling me "yes," _viejo_?
> 
> DAICHI  
>  _Hai_. But! I truly believe you'll be a state marshal some day.... And that'll be the day that I get to see my wife again.
> 
> JAVIER  
>  So, never. Thanks for your rousing display of confidence, Yoshida-sensei.
> 
> DAICHI  
>  Anytime.
> 
> BERNARD  
>  Well, I think you'll definitely be a great lawman with a heroic legacy.
> 
> JAVIER  
>  Oh, Bernie, you really mean it? Tell me more about me!
> 
> BERNARD  
>  And I'll give you my support, wholeheartedly. Just as long as you convince the state office to allow me to own a plot of land.
> 
> JAVIER  
>  (melodramatically)  
>  Bah! Sami was right--all you care about is money and playing games. Consider our brotherhood broken. Broken by cruel intentions and a loss of faith!
> 
> BERNARD  
>  (seriously)  
>  I have plenty of faith. Just not in humanity. Or you for that matter.
> 
> DAICHI  
>  Ah, I think that this is getting a little too personal, gents. How 'bout we just go get our hot baths and cool off a bit?
> 
> JAVIER  
>  Finally, wisdom from our elder.

Bernard, Javier, and Daichi head in the direction of the bathhouse.

Samuel and Adohi stay at the notice board.

Samuel studies the wanted poster intensely.

> ADOHI  
>  Something on your mind?
> 
> SAMUEL  
>  (in ASL)  
>  Those men, they attacked me. They are the reason I'm here. Alone.
> 
> ADOHI  
>  You think you're alone?
> 
> SAMUEL  
>  (in ASL)  
>  Aren't I?
> 
> ADOHI  
>  I think you're only alone if you tell yourself you are. You seem to have Daichi and Javier wrapped around your finger.
> 
> SAMUEL  
>  (in ASL)  
>  Not Bernard.
> 
> ADOHI  
>  Bernard is just wary. He needs to get comfortable with a person before he lets his guard down. A little like someone else I know...

Samuel cringes. A beat, then:

> SAMUEL  
>  (speaking)  
>  Adohi, I--
> 
> CHEROKEE WOMAN  
>  Degataga, is that you?

A CHEROKEE WOMAN (mid 50s, pretty and tall) stands with a paper bag of goods a few paces away.

She appears to have exited from the general store before spotting Adohi.

> ADOHI  
>  Sorry, ma'am. Do I know you?
> 
> CHEROKEE WOMAN  
>  My apologies, you look just like my brother, Degataga. Carry on.
> 
> ADOHI  
>  No, wait. I think I've heard that name before. Are you...Le-oh-tee?
> 
> LEOTIE  
>  Leotie. I suppose you couldn't be...Adohi?

Adohi nods. Leotie rushes forward and holds his face gently.

> LEOTIE  
>  Oh, you were stolen from us. We never stopped looking. Our whole tribe lost five children that year to the "missionaries." How are you...?
> 
> ADOHI  
>  They sent me to school. But I graduated and left to find you. Our tribe.
> 
> LEOTIE  
>  ...Our tribe is gone. They only came for ten more children the next year, then twenty, until all of our young were gone. So we left to find where they took you all. But we never could. A family and a community broken like that can't survive when we have nothing....

A young CHEROKEE BOY (10, gangly and well-dressed) stands where Leotie first spotted Adohi. Leotie looks back at him.

> ADOHI  
>  I wish I could have known you.
> 
> LEOTIE  
>  There's not much to know. But I made my own family and community here in Fountain. I can't take back what I lost. And neither can you, no matter how much I wish that weren't true.
> 
> ADOHI  
>  I have made my own family as well.
> 
> LEOTIE  
>  Are you happy?
> 
> ADOHI  
>  Very.
> 
> LEOTIE  
>  Then I'm happy.

Leotie removes a necklace and presses it into Adohi's hand.

> LEOTIE  
>  Degataga has been gone for two years now. This was his, but it is meant for you. And for your son, and his son. I have my own finally.

Leotie touches Adohi's hands and face one more time, before turning away to meet back with Cherokee Boy.

Adohi grips the necklace, unsteady. He grabs Samuel for support. Samuel gingerly holds him.

> SAMUEL  
>  Adohi, I...think you should take a bath.
> 
> ADOHI  
>  Really? After all this time, those are your first words shared with me?
> 
> SAMUEL  
>  I think you'll feel better. And smell better too.
> 
> ADOHI  
>  Please go back to not talking.
> 
> SAMUEL  
>  (in ASL)  
>  Done.

Adohi chuckles and breaks away.

> ADOHI  
>  Please go back to talking.
> 
> SAMUEL  
>  ...I can, with you. I'm less...wary.

Adohi presses the necklace into Samuel's hand.

> ADOHI  
>  As thanks, you get this.
> 
> SAMUEL  
>  (in ASL)  
>  Why?
> 
> ADOHI  
>  This is supposed to go to my future son. But I know that I'm not going to have one. So it should go to yours.

Adohi turns around in the direction of the bathhouse.

> SAMUEL  
>  Wait, what's that supposed to mean?
> 
> ADOHI  
>  Wouldn't you like to know?

* * *

EXT. PIKE'S PEAK - FOOTHILLS - NIGHT

Adohi and Samuel watch over the corralled herd. Adohi is on Ama and Samuel is on Daichi's horse, JUN (stallion, black).

The moon is a waning crescent and the herd is calm.

Adohi prods Ama closer to Samuel and Jun. Samuel does the same.

Adohi reaches out and Samuel catches his hand.

Adohi leans in and Samuel closes the distance for a kiss.

* * *

EXT. PIKE'S PEAK - FOOTHILLS - COWBOY CAMP - DAY

Samuel and Adohi dismount Jun and Ama as they approach their campsite at dawn.

Daichi cooks breakfast. Javier and Bernard are asleep on their bedrolls.

Samuel and Adohi sit with Daichi, who pours them both steaming cups of coffee.

> DAICHI  
>  _Ohayoo!_ Y'all are awfully perky for just coming off a night shift.
> 
> SAMUEL/ADOHI  
>  (in ASL/speaking)  
>  That's just who we are--naturally perky.
> 
> DAICHI  
>  Ah, to be young and in love--

Samuel chokes on his coffee.

> DAICHI  
>  \--with the nighttime. Enjoy it while it lasts. Before you know it, you'll be falling asleep as soon as the sun sets. Then you won't have any energy for the usual nighttime activities.

Samuel chokes on his coffee again.

> JAVIER  
>  Bah! _Yoshida-sensei_ , you better not be teaching my sweet little Sami about the tender art of lovemaking without my expert tutelage!
> 
> DAICHI  
>  What was that? I seem to hear only the wind. It seems to say that Javier missed his chance for coffee...

Javier sits up, flailing, and smacks Bernard awake.

> BERNARD  
>  _Huy, por Dios...¡Cállate!_


End file.
